Tag: Romance

“Johnny Eager” (1941) starring Robert Taylor, Lana Turner, Edward Arnold, & Van Heflin

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Robert Taylor ‘N Lana Turner – TNT – They’re Dynamite in JOHNNY EAGER -Tagline

Johnny Eager (Robert Taylor, 30 y.o.) is a recent parolee pretending he has quit the rackets (gambling) and working as a taxi driver in NYC. However, he’s still deep into crime; he’s desperate to get a permit to open a dog track. One day, Johnny happens to meet Lisbeth Bard (Lana Turner at just age 20), a college student/step-daughter of the DA, John Benson Farrell (Edward Arnold).

Director Mervyn LeRoy originated the “TNT” idea to promote this movie; it was a box office hit for MGM. I’d never seen Taylor act before, BUT I knew that he was married to Barbara Stanwyck. Life imitated art here, as Taylor fell in love w/ Turner on set and asked his wife for a divorce. Stanwyck is said to have injured her wrists after learning of the illicit romance. Turner quickly broke up w/ Taylor; she was maybe NOT in love w/ him. They do have good chemistry onscreen; those heated looks and kisses aren’t all make believe.

I was curious to see this film noir after learning that it was Van Heflin’s 1st role. He’d been encouraged by Katharine Hepburn (his co-star on Broadway) to try Hollywood. Heflin (looking V slim/youthful) plays Jeff, Johnny’s alcoholic/intellectual best pal. Jeff has some great lines in the movie; Heflin ended up winning the Oscar for Best Supporting Actor!

[1] The glamorous Ms. Turner is at first a little hard to believe as a student studying social work, but she does acquit herself well in some powerfully dramatic scenes with Taylor. Paul Stewart, Glenda Farrell and Edward Arnold chip in fine supporting performances while Van Heflin delivers a magnificent one. Heflin as Eager’s alcoholic sidekick and pickled conscience is not only effectively moving, but also lends a droll sense of wit to the film with his sardonic observations.

[2] The film would never have stood out but for the script (Grant and Mahin) and the direction (LeRoy). The opening sequence and the ending sequence are well crafted and can stand alongside the best of film noir.

-Excerpts from IMDb reviews

“Carmen” (2022) starring Melissa Barrera & Paul Mescal

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Love is a rebellious bird that nobody can tame… -A tagline for the movie

To escape a cartel, a young Mexican dancer, Carmen (Melissa Barrera), heads north to the US (California). Her route takes her through a desert guarded by the US Border Patrol, as well as a small group of (coded as fanatical) white men who seem to hunt ppl for sport. Mixed among these men is a newcomer/Army veteran, Aidan (Paul Mescal), desperate to earn money for the mortgage on his humble family home. Soon, the mismatched pair meet and start toward LA together. Carmen’s goal is to seek refuge in a club run by her deceased mom’s best friend, Masilda (Rossy de Palma).

This is the 1st film of choreographer/dancer Benjamin Millepied (ex-hubby of Natalie Portman); he and the actress met while working on Black Swan (2010). As some of you MAY know, they had a bad break-up (after he cheated w/ a younger woman). Jamie Dornan was originally going to play Aidan, BUT was replaced by Mescal (who is much younger). Barrera (who I’d never seen before) appeared in Lin Manuel Miranda’s movie musical In the Heights (2021). Recently, Barrera made comments on social media (re: Israel-Hamas); she was fired from the upcoming Scream movie. This movie was shot in Australia; Elsa Pataky (Chris Hemsworth’s wife) has a small role. I recall seeing her in the (short-lived) TV series Queen of Swords (2000-2001).

IF anyone asks for an example of an undercooked movie, then refer them to Carmen! The characters are V shallow (as in drawn w/ a broad brush); there is barely any plot. Perhaps worst of all, the dancing (NOT an expert here) looks basic/easy! I’m a fan of Mescal (who is Irish and just 27); here we see that he’s NOT yet 100% comfortable w/ an American accent. He does some dancing, which was pretty good (IMO). Hey, let’s give him a break here; youth is for trying new things, making mistakes, and growing! The filmmakers needed to realize that you can’t just rely on attractive actors/settings. As the Youngbloods say, this is “just vibes.” I’d suggest y’all check out Carmen Jones instead.

[1] I had high hopes for this feature. I’m a ballet and opera fan and am familiar with Benjamin Millepede. Unfortunately this was a sometimes excruciatingly slow movie to watch. There were some highly stylized scenes that were memorable… most of them were not. The scenes for the most part did not hang together to form a whole storyline.

[2] As it’s heralded as Carmen, and clearly veering towards Carmen Jones, I am utterly confused as to what this mess was. […]

I’m just so confused as to how this had none of the operatics. It was awful and yet I was SO excited to watch this. It was a mismatch of desultory exchanges and unexciting conversations.

-Excerpts from IMDb reviews

“The Bigamist” (1953) starring Edmond O’Brien, Joan Fontaine, Ida Lupino, & Edmund Gwenn

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Wanted by two women! -A tagline for the film

Harry Graham (Edmond O’Brien) and his wife of 8 yrs, Eve (Joan Fontaine), are trying to adopt a baby; they have a successful/small business. The head of the adoption agency, Mr. Jordan (Edmund Gwenn), senses that Harry is hiding something, so does some investigating. There are several in-jokes about Santa Claus here; Gwenn played Kris Kringle in the holiday classic Miracle on 34th Street (1947). The agent soon discovers that Harry has done a LOT of traveling from his (luxury/condo) home in San Fran to L.A. Mr. Jordan goes to a lovely house in LA, where Harry has a 2nd wife- Phyllis Martin (Ida Lupino, also the director)- and (shocker) a baby! Desperate to explain himself, Harry reveals to Mr. Jordan (via flashbacks) how he ended up w/ 2 lives.

Writer/producer Collier Young was then the husband of Fontaine; he’d previously been married to Lupino. Wow, Hollywood is a small world! This is the ONLY time Lupino directed herself; she’s one of the 1st female stars to direct herself. Her best known film is the “The Hitchhiker”(1953) which also co-starred O’Brien. All of Lupino’s (small-budget/indie) films are marked by a concern for the lives of ordinary folks.

Harry Graham [re: meeting Phyllis]: For the first time, I felt needed; I loved Eve, but I never felt she needed me.

This is a small gem of a film that MAY surprise you; the issues delved into are modern. The acting from the 3 main actors is V good. Some reviewers commented that their sympathies were mostly w/ Eve; after she became “career-focused,” Harry felt like he was NOT needed. It turns out that Eve is a great assistant to her husband, so they BOTH benefit from the resulting success. Phyllis is a waitress who lives in a rented room; she’s NOT the type of woman who’d be “threatening” to most men. As this is in the public domain, so you can watch it for free.

[1] I found this to be an interesting film; it certainly wasn’t the sort of topic I expected to be explored in a film of this era… especially given its sympathetic portrayal of Harry. […] Edmond O’Brien does an impressive job as Harry and gets fine support from Joan Fontaine and Ida Lupino as Eve and Phyllis. Ida Lupino also does an impressive directing…

[2] The movie is shown through flashbacks. And, despite the sensational plot, the movie is actually done very sedately and avoids sensationalism. Instead, it tries to portray O’Brien in a pretty sympathetic light–while not excusing his actions. And, by doing so, the movie really gets you thinking. An excellent job of acting by all, but the star of this picture is Ida Lupino…

[3] Lupino and the script manage to provide an honest look at the situation with few hindrances from the strict production code of the era. Only at a couple of odd moments can you tell that they had to shift gears slightly, so as to placate the censors. Although the movie is low-key and straightforward, it’s a commendable effort, and it makes for good drama.

-Excerpts from IMDb reviews

“Passages” (2023) starring Franz Rogowski, Ben Whishaw, & Adele Exarchopoulos

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie Passages (2023) streaming on MUBI.

…a form of cultural censorship that is quite dangerous, particularly in a culture which is already battling, in such extreme ways, the possibility of LGBT imagery to exist. -Ira Sachs (co-writer/director) on the NC-17 rating given to the film by the MPAA

At the wrap party for his latest movie, 30-something director, Tomas (Franz Rogowski- a German actor), celebrates w/ his hubby, Martin (Ben Whishaw- a British character actor), the film crew, and their guests. Among these guests is a 20-ish teacher, Agathe (Adèle Exarchopoulos- a Frenchwoman), who invites Tomas to dance. Soon, the two begin an affair, which puts strain on the relationship btwn Tomas, Martin, and their wider social circle.

I really liked how in this story the 3rd person is a woman. Because it shows how awkward it is to maybe try to have that balance of freedom and being open to people exploring, but also wanting traditional needs met. […]

He [Tomas] is not interested in making anyone else comfortable but himself.

-Excerpts from YouTube video by Jelly Fish Reviews (8/1/23)

This indie film was rejected by both Cannes and the Venice film fests; it had its world premiere at Sundance. Ira Sachs (who is American) and the film’s distributor, MUBI, rejected the NC-17 rating; it was released in theaters (unrated) in AUG 2023. I heard some positive things from media critics I follow, so had high hopes for this movie. I think many ppl are hungry for mature dramas w/ serious themes. This story has a V unusual/interesting premise, BUT there is little in the way of character development. Polyamory is NOT a topic we see discussed much in media.

The unlikeable protagonist (NOT a hero) doesn’t grow/learn/change by the end. FYI: Ragowski speaks w/ a lisp, which is his natural speaking manner (hard to understand at times IF you’re not using subtitles). Tomas is a narcissist who causes havoc w/ his words/actions wherever he goes. Some viewers commented that he isn’t “conventionally handsome”; Tomas has a patchy beard, gaunt features, dresses in mismatched clothing, and moves in a “snake-like manner.” We may wonder why Martin (a successful artist/business owner) and Agathe (an independent-minded/strong woman) found him SO appealing! After all, it’s easier for the audience to relate when a baddie IF he also happens to be a hottie (i.e. Brando in Streetcar; Newman in Hud).

The visual style of the film is NOT impressive; there are even scenes where the framing seems off and a character is hidden from view (while speaking). There are no camera “tricks,” which could’ve made this film a BIT more effective. The pacing is slow and I didn’t sense tension building as the story went on; there are common issue in (modern) movies. As for the “controversial” scenes, the sex looks “animalistic” (NOT romantic), as a few viewers commented. I saw little passion/connection btwn the characters.

[1] Not all films need to be message driven, but I think any director or writer makes a film because they have something to say. In that sense, I’m not sure what ‘Passages’ wanted to say.

[2] …a rather dull introspective of characters that didn’t really leap off the screen at me. […] The production and pacing all contribute to the general ennui of the whole thing and to be honest, I was just a bit disappointed with this whole thing.

[3] Without style, the absence of substance dominates this lackluster experience.

[4] The movie transcends type and finds the truth in its relationships, it dotes on and suffers with its protagonists in a manner that does feel intimate, both emotionally and physically.

-Excerpts from IMDb reviews

“Fair Play” (2023) starring Phoebe Dynevor & Alden Ehrenreich

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie Fair Play (2023) streaming on Netflix.

Competition is Close. -A tagline for the movie

[1] Fair Play is about the sort of guy a lot of women are uncomfortably familiar with – the one who’s perfect until he’s not, who’s an ally as long as he stays in power. 

[2] I really liked the concept, and the story up to a point, but then it careens off the rails, and becomes something altogether different. By the end, it has taken one of the leads into a place that is barely believable, and borderline absurd.

[3] It’s about how a loss in traditional balance sends a couple into their dark side.

-Excerpts from IMDb reviews

Emily (Phoebe Dynevor: 28 y.o.) and Luke (Alden Ehrenreich: 33 y.o.) are a smart/ambitious couple who’ve been dating for 2 yrs; they live in a spacious apt. in NYC’s Chinatown. They decide to get engaged, BUT keep their relationship a secret, as they both work as traders in the same investment firm. Suddenly, a position of PM (portfolio manager) opens up, when a co-worker is let go w/o warning (NOT unusual in this cut-throat field). Everyone in the (glass-filled/open plan) office is buzzing re: who’ll get the promotion; Emily assumes that Luke will be the one (and is happy about it). Late one night, Emily gets a (mysterious-sounding) call from a PM, Rory (Sebastien De Souza). She goes to a (speakeasy-style) bar; their boss is sitting there instead of Rory. Campbell (Eddie Marsan) reveals to Emily that he has chosen her as the new PM!

As y’all regular readers (and Twitter pals) know, I was anticipating this film for quite some time. This is the 1st movie written/directed by an American woman in her 30s, Chloe Domont; the rights were bought by Netflix for $20M. The setting is NYC (Manhattan), it was primarily shot in Serbia; Domont chose that location as it allowed her to build the sets according to her specifications. The co-leads of the movie are two up-and-comers in Hollywood: Dynevor (a Brit best known for the Netflix series Bridgerton) and Ehrenreich (an American who starred in Solo: A Star Wars Story; he recently had a supporting role in Oppenheimer). The rest of the (international/mostly male) cast are NOT well-known; they portray Americans. When it comes to the relationship element, it was effective; the leads have good chemistry (make a believable couple) and are well-suited physically. When it came to the workplace, it fell short; my mind would wander off. (I’ve known ppl who worked in finance when I lived in NYC.) The frenetic energy of NYC is missing; that is an element you can’t fake. One critic said that Lynbrook (where Emily grew up) is “a nice/middle-class town” on Long Island; Campbell made it sound like a hole to crawl out of.

This is NOT an erotic thriller, as you may’ve assumed from the marketing; however, it does contain elements of the genre. The central issue here is the fragility of the male ego. Today, there are some women who earn more than their (male) partners; this could be a point of friction in relationships. Though she never worked in finance, Domont based this story partly on her own life; she said that she “made herself small in some dating relationships” (when she had success professionally). After Emily is promoted, the relationship btwn her and Luke starts to break down. Tension builds and continues to grow in their interactions. Luke makes snide/mean comments, loses interest in sex, and gets obsessed w/ the teachings of a business guru (reminded me of Don’t Worry Darling). Emily changes her style and navigates the world of the PMs (act like “one of the guys”). In the 3rd act, Luke goes into a tailspin which came off as extreme (and unexpected) for many viewers. Do you think that any man can become a rapist? Honestly, I have to say no! There is one scene in the finale which may be troubling and (possibly) triggering to some viewers.